Vernida Polacca Nampeyo is known for her stylistic use of traditional Hopi designs.  This jar has a wide shoulder and a short, sloping neck.  It has a migration pattern encircling the shoulder of the piece.  The migration pattern consists of upper and lower rows of bird wings, connected by lines. There are seven on the top and seven on the bottom, making a total of fourteen.  The lines are delicately painted with bee-weed (black). There is an additional red clay slip as part of the design. The migration design is a classic Hopi-Tewa pattern revived by Nampeyo of Hano and tells the story of the migration of the people around the world.  The jar is traditionally fired to create coloration on the surface of the jar.  The coloration reveals shades from white to orange.  It is signed on the bottom, “Adelle Nampeyo”.

Dextra Quotskuyva Nampeyo said of  the migration pattern:

“This is the one design that was really stressed for us to use, the migration pattern. Nothing but lines, representing the migration of all the people to all the places, including down below and up above. It has seven points at the top and bottom. All the x’s represent life from the bottom and top, telling you the universe is one. The thin lines, I just wanted to paint them real fast and real close to try and include everyone.”  Dextra Quotskuyva Nampeyo, Spoken Through Clay